I'D APPRECIATE A BIT OF ADVICE ON A THEORY QUESTION ABOUT SOMETHING I'M WRITING.

Kandinskyesque

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I'm came up with a chord sequence brought about by some melodies I had in head, now I'm playing about with/refining the vocal melodies and I know the verse key is in F#maj and the other part (chorus? it might be the other way round, lyric depending) is evading me as to what key it's in.
I know I'm doing some kind of modulation but my theory is poor to non existent and I'd appreciate somebody with a bit of theory knowledge to tell me what I've managed to pull from the ether.

The verse chords are: (4/4)
F#/ F#/ A#m/ B
B/ D#m/ A#m/ B
Bm/ D#m/ A#m/ G#m
F#/ F#/ B/ Bm

I repeat that then go into:
Bm/ Bm/ E/ E/ C#m/ C#m/ F#m/ F#m
Bm/ Bm/ E/ E/ A/ A/ C#/ C#

Then back round the verse chords again.

I've came up with a few key vocal melodies I like in both parts but I'd like to put some variations on them.
I can currently work it out by ear but I don't know what theory lies behind these patterns.

Any help would be gratefully appreciated.
 

ndcaster

Doctor of Teleocity
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nice

one way to hear this is that we're in F# the whole way, the first time in major, the second in minor

F#:
I I iii IV
IV vi iii IV
iv vi iii ii
I I IV iv

F#m:
iv iv VII VII
v v i i
iv iv VII VII
III III v v

by the way, with all those minor 4 and minor 5 chords, the progression is "borrowing" chords from other keys

another way to hear it, however, is that the second section modulates to A major

A:
ii ii V V
iii iii vi vi
ii ii V V
I I F#: V V

and the last two bars of C# is the V or pivot chord back to F# major

there's a lot of movement here by thirds: I'm guessing you like The Beatles?
 

studio

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The way I take apart progressions I'm trying to learn is to find the 2 5 1 chords if any.
Then I can flesh out the rest. It's easier for me.

I see partial that formulation in both those sets. Almost like you're borrowing from that but just in passing.
 

Harry Styron

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I’m really interested in hearing your melodic ideas. I don’t have any formal training in theory, so I’m presenting only my understanding, not informed analysis.

Ordinarily, a chord progression will move to the V (in your case C#) to create a kind of tension that is resolved by returning to the I (F#). I would expect the melody to ascend, with the narrative of the lyric also intensifying with the tension created by the move from I to IV to V. You don’t reach the V until the second section. Because you reach the V only after modulating, it doesn’t carry much tension, though it provides a neat path back to the first section.

Without the familiar I-IV-V structure, in my ear your chord progression meanders. I tried moving up the neck as I played it, so that the higher pitch might supply some drama, but I didn’t find it, perhaps because of my own limitations.

However, you may have rhythmic and melodic ideas that make it work.
 

Kandinskyesque

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I’m really interested in hearing your melodic ideas. I don’t have any formal training in theory, so I’m presenting only my understanding, not informed analysis.

Ordinarily, a chord progression will move to the V (in your case C#) to create a kind of tension that is resolved by returning to the I (F#). I would expect the melody to ascend, with the narrative of the lyric also intensifying with the tension created by the move from I to IV to V. You don’t reach the V until the second section. Because you reach the V only after modulating, it doesn’t carry much tension, though it provides a neat path back to the first section.

Without the familiar I-IV-V structure, in my ear your chord progression meanders. I tried moving up the neck as I played it, so that the higher pitch might supply some drama, but I didn’t find it, perhaps because of my own limitations.

However, you may have rhythmic and melodic ideas that make it work.
It's just the initial idea brought about by melody ideas that 'arrived', and the chords that seemed to work with what I was singing was in the key of F#.
I shifted it all up to G last night but possibly might move it further up to A to suit my vocal range to something more 'throaty' and a bit of 'falsetto' to add to the drama.

Invariably these melodies tend to 'arrive' during a bath, shower, after my prescribed afternoon nap or at times when I switch the car radio off and sing to myself.
It sounded a bit unusual to me than what I normally come up with.

I was getting bored with the last spate of melodies over the last 6 months having me immediately reaching for a major 7th chord so it's been a welcome change.

I'll work on it for a week then probably shelve it for a couple and dip into my reservoir of lyrics in between times.

I'm very grateful for the responses I've had so far because my theory is poor to non-existent.
 




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